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ACCORDION FOR COMPOSERS RICARDO LLANOS INAKI ALBERDI

The present essay is born with the intention of being a small practical manual Ihat will allow those composers coming closer to the concert accordion for the first lime a basic knowledge of its technical and acoustic possibilities. It is evident that, when collaborating, the accordionist will give to the composer certain quantity of musical works and recordings that exemplify what we have summarised here. That is why we give some references of CDs and scores for accordion at the end of the article that can be useful for such an aim.

© Ricardo Llanos & lfiaki Alberdi, 2000-2002 All rights reserved. This work Illay not be copied, in any way, in whole or in paIt, without previous written pelmission of the authors.

RiC31'do Llanos Vazquez Cal\e Juan XXllJ n05-6°izquierda B-O I004 Vi toria-Gasteiz Spain r.llanos@euskalneLnet RIHGT MANUAL

lfiaki Albel'di Alzaga Barrio Ventas, Calle Andrearriaga

57

MI

E-20305 Irun (Gipuzkoa) Spain [email protected]

Montxo Lopez de Ipiiia Pena (Cover) Cal\e Angela Figuera Aylllerich E-O I 0 I I Vitoria-Gasteiz Spain [email protected] Printed in Antza (Lasarte-Oria) ISBN: 84-607-6778-7 D.L.: SS-202/03

l-lA

treble MI

A. RIGHT HAND. MANUAL I. eM I).

•

• • •

5 rows of buttons chromatically set in diagonal. Inside each row, the relationship existent intervalic relation between a button and its contiguous inferior is a third upward minor. The 4th and 5 th rows are repetition of the two first, to make the fingerings easier. The buttons corresponding to the notes C and F are marked to facilitate the displacements of the right hand on the buttonboard. It is indicated by M I on the score.

The accordion has 4 reed sets in its right manual. Each set consists. on .a (;omplete and independent set of reeds (and therefore, of sounds) whIch IS possible to be mixed with any of the other three games,' . ' There exist two central reeds (8'), a low one (16) and a high one (4 ), living a total of 15 different combinations. (For brevity, it is said ."ree~s" . 'lcad of "set of reeds"). The notation in "foot" is taken from the regIstratIOn Ins , , d h . of' lhe organ. The reed of 16' sounds an octave below those of 8 an t e VOIce of' 4' one octave above. . The registers are symbolised by means of. a circle divided in three heights (see the following figure); In the resultmg spaces some do~s are drawn meaning the quantity and the octave of. the ~ounds (reeds) emItted when to

b\l.l~~9..I.l.iS..PlJ.~~~9~9.\."~ in the selected regIstratIOn. Cel/tral reed or eight-foot reed (8')

!

•

Low reed or sixteenfOOLreed (16 ') (in chamber) centred)

Note: the graphic shown above corresponds with the most usual button system in Western Europe, the so-called Italian or C-griff system (C, D#, F# and A in the first row). This is the system with which we deal in this article, but there are some other systems: the Finnish or B-flat-griff system (A#, C#, E and G in the first row) and the Russian or B-griff system (B, D, F and G# in the first row). When writting for these other systems bear in mind the notes placed in the first row: it will be important when we study the left button board and the possibility of using the thumb in the first row.

j j ,.......

,

left; if the two central reeds appear at the same time, then it is always , ....dnlwn In the left1 ...........•

~

,....... ,.... ........

d

fi fi t d or our- 00 ree

(out of chamber) (it is drawn centred)

L '..... : . :

.....

I 1 ree

(in chamber) (it is drawn centred, although ~~~~~:~ ~~~;~:C~d to the

(

I ~~

' ~

: :

,

·

Central reed or of eight-fOOL (8 ') (out of chamber) (it is drawn displaced to the right)

....

j-'"

(it is drawn

Therefore, the available registers will be:

@§gg @@@g§§ @@ggg

' .

; : :

(W) I'amily

The cassotto is a chamber of resonance working as a filter that attenuates the higher harmonics. So it makes that the reeds laid out in its interior (that of 16' and one of those of 8 ') project a more rounded sound that the one of those located outside of it (the other of 8' and that of 4'). To differentiate the two central reeds graphically, the dot corresponding to which is inside cassotto is drawn centred (or displaced to the left), while the point corresponding to which is outside of cassotto is drawn displaced to the right.

Some registers are repeated in the chin area. They are changed with the chin (so their name) and it is not necessary to leave time for their activating. The registers usually located in the chin area:

@@@®©©§ Nowadays some models begin to incorporate a system of denominated "multichinregisters", by means of which it is possible to change any register with the chin.

The range of the right manual will depend on the family to which the used register belongs. Register family

(16') family (those that have as lowest reed a 16' reed)

Register

§ @ @ §©

® g©

Actual (and written) range

©

?;Jf~ E1 T

(thos'

Ihill have as

low °sl I"cd an 8' 1'(;

'd)

®

@@®§ @

( 'ol\lparing these charts of ranges, we observes what happens: . The range of the (8') family is the same that the range of the smgle-reed (8') registers (with or without cassotto) and it is the one that we had indicated in the previous graph of the manual I. . The range of the registers of the family of the (16') results from lowenng an octave the range of the (8 ') registers. The range of the (4') registers raises an octave the range of the 8 'registers (except for the last notes, those that go from D7 a G7 that are same). The reason for this is that the perceived height is determined by the height 01' the lowest reed appearing in a register. In the writing of contemporary music it is very spread the so-called exact pitch notation, that consists in writing on the score the emitted real sounds. These are the ones we have scored in the previous chart. This way, the composer will write the notes on the staff in the height i.n . which he wants them to really sound. Using a registration or another WIll fIx the available range (and it will characterise the timbre). Later, in view of the requested registration, the accordionist will worry about playing on the .buttons that emit the sounds with that registration in the corrected octave as written by the composer. It is recommended to indicate the expression "exact pitch I/otation" at the beginning of the work.

J= Number of buttons pushed down simultaneously 2 in chord texture 2 in counterpointistic textures 3 in chord texture 4 in chord texture

S in chord texture

Embraced interval (more comfortable conditions) 8ve + 8ve ve 8 + major 3m

8ve + 8ve + augmented 4t1 8ve + major 6t

8ve + major 6th 8 + augmented 4tn, whenever the two intermediate voices are separated a maximum of an octave, being the most usual a interval of major sixth. 8ve The intermediate voices without limitation.

8ve + 8ve 8 + major 6th, whenever the two intermediate voices are separated a maximum of an octave, being the most usual a interval of major sixth. 8ve + minor 3rd. The intermediate voices without limitation.

ve

The maximum intervals pointed should be used as exception, never as habitual. If we want to eliminate or to soften the restrictions for the intermediate voices, we can remove a (another) third minor to the maximum extensions written down. On the contrary, in the case of 4 and 5 buttons pushed down in chords textures, it is possible to embrace bigger intervals that the pointed ones, keeping then in mind that the limitations for the intermediate voices will be even greater. 3 voices in counterpointistic textures in the right hand can be carried out, but never moving the three voices simultaneously and, in the case of moving two, the third one will be still or practically still. Also, we will be no longer in disposition of demanding any articulation in each voice, independently of the other voices. The finger 1 can press two contiguous buttons, what will imply a major nd nd 2 interval, a minor 2 or a minor 3rd with a single finger, due to the layout of the button board. The most comfortable option is to playa major nd or minor 2 interval (two buttons in diagonal).

Without problems if the note is alone. It is carried out changing fingers on the same button or alternating the two buttons that produce the same sound (first and fourth rows or second and fifth ones).

5~

1·· """"-".,

Embraced interval (extreme conditions)

ve

€

80 S2-

T ("llzal" for solo accordion by Jesus Torres)

(See also "Flashing" by Arne Nordheim) keep down other(s) note(s) at the same time, it is recommended to I'('S 'rvl.: the fingers I and 2 or 3 and 4 for the repetition of notes, at an IIpprox i mate maximum distance of 8th from the held notes. II'

Uti

2~:\ ;~ ,t"'"'b-:__

... ~: .

.'

.J. l4iffi!*iF?G&

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("llzal" for solo accordion by Jesus Torres)

(See also "Phantasie 84" by Jiirgen Ganzer). Ii is also possible to repeat notes or chords (in this case with the same fingers) 10 llnough speed by means of a quick articulation of forearm and wrist. It is r' 'ommended that this repetition doesn't last for long, for it is tiring.

("Alpfwbel"

for accordion, soprano/baritone

saxophone and percussion by Pascal Gaigne)

(See also "Episoden, Figuren" by Mauricio Kagel). Trills Hnd tremolos ')'11' frills don't causes any problem, to exception of the interpreter's own I'i II 'crs (the best fingers are the 2 and the 3, later the 4 and the I, and finally Iii'S, which nevertheless can be used with anyone of the other ones except the

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.

Will, (/ I/ole: in a distance of a twelfth any speed is practically posslble .

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.

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(4-)

.

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=:===~---~=== ''----''

---

("Itzal"

Wilh

for solo accordion by JeSt'S Torres)

or more notes: inside an octave-leap there is no problem. As we l'IlIISid 'I' bigger distances, the possibility to execute a passage with acc~racy IS IllIm' and more scarce if the same speed as with a single note lS reqUJred. In Ilil'Sl' () 'casions it can be advisable to combine both hands and buttonboards. IWO

("Des Tenebres a La Lumiere" for solo accordion by Edison Denisov) (By authorization of ALphonse Leduc & Cie, owner and publisher for the worLd. Paris-France)

•

I

The tremolos don't present problems either. For their extension keep in mind what we said on the extensions embraced by the right hand (two octaves without problems; more extension can be uncomfortable). The finger I can push down two contiguous buttons (what implies a major or a minor 2nd interval, or a minor 3t\ due to the layout of the button board) .

• =72

~.-==n£.3

(" Diario" for accordion and piano by David deL Puerto)

(See also "Metalwork" by Magnus Lindberg). ( 'illsters

•

"rom three notes (two correlative minor seconds) up to two octaves.

("Akorda" for accordion and orchestra by Gabriel Erkoreka. © Copyright Oxford University Press 2000. Reproduced by permission) (See also "Jeux d'anches" by Magnus Lindberg).

Speed • All type of textures can be carried out at great speed, although it will depend on the requested articulations: with a slight legato the biggest speeds are possible, the more we move towards extreme articulations (staccato or legatissimo), the more the speed decreases. If double notes are used, don't go beyond the octave if you want to write a virtuouso fragment. @'".

---)

'.

-:"1 ...-=.:::,~

("ltzaL" for solo accordion by Jest's Torres) (See also "Tears" by Bent Lorentzen. For quick legato thirds see "Sequenza XIII" by Luciano Berio).

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( "I';,I'I/IIIIIJ V "Densidades

", op. 20" for solo accordion by Enrique !goa;, Reproduce by permission of the "Editorial de Musica Espanola Contemporanea EMEC)

(See also "Alone" by Erkki Jokinen and "De Profundis" by Sofia GubaiduJina).

B. LEFT HAND. MANUAL III. (M III). (Free bass, bassetti or chromatic bass) 1) Description of the manual •

• • •

4 rows of chromatically set buttons (same disposition as in the right hand, so that there is mirror symmetry respect to the hypothetical plane determined by the folds of the bellows). The 4th row is repetition of the first one. th th The 5 and 6 rows (pedals) are different, and they will be explained later. The buttons corresponding to the notes C and F are marked to facilitate the displacements of the left hand on the button board of the manual III. It is indicated by M III on the score (or by RB.).

!\vV()I"t!ill ('(llll'

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o 0 0 0 0 0 0 0 0 0'''0''0 0 0 0 0 0 0 0 0 l o 0 0 0 @ 0 0 0 @ @ 0 0 @ 0 0 0 0 0 0 0 ~"1""""}, o00000000@ 0000000000 l: 'ottom

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 00000000000000000000 __

l:~~O~0:t:a~ :r=t

Mill

oJ

£.

.----~

2) Registration •

The accordion has 3 reed sets in its left manual.

•

The registers are symbolised by means of a triangle divided in three heights. As in the right manual, in the resulting spaces some dots are drawn meaning the quantity and the octave of the sounds (reeds) emitted when one button is pushed down in the selected registration. The main difference is that now the inferior space corresponds to sounds in real height (8 ').

to the disposition of the 3 reeds in the left hand two main types of can be obtained: Accordions with "double bass". " " First, let's say that in the free bass manual (N.!III) we call bass to the register (8 '), although it emits sounds III r~al o~tav~. The available registrations (8'+ 8'+ 2 'registratIOn) III thIS type of accordions are:

'I"I 1./'",_)

_-

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_.

- -

-

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.

--==

.if

",p

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V

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("Akorda"

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